One square sounded like a cranky between Philip Glass and David Lang, with repeating syncopated snatches of content buoyed by fibre sum from a tiny instrumental ensemble. Another charity a chant-like content over a piano accompaniment dim and abounding and thick as fruitcake. One composer sang her possess work in a gentle, piping voice that gave an additional season of early song to her environment of 3 poems by Edna St. Vincent Millay. One composer presided from a keyboard as a tiny expel enacted an whole mini-opera.
The arise was a initial unison in a two-day festival of new outspoken music, New Voices @ CUA, that spotlighted a commendable importance on essay for museum and voices during a university’s Benjamin T. Rome School of Music. The festival featured particular concerts of cabaret-style song and dedicated music, as good as a bone-fide veteran concert, pleasantness of a entire Great Noise Ensemble, on Saturday night. Friday’s opening was a miscellany of styles and levels of feat and knowledge — usually a kind of eventuality a song propagandize should put on, and encourage, and continue.
Undergraduates should be given lots of room to try things, and experiment, and soar or tumble on their faces but being theme to too most scrutiny. As it happens, my dual favorite works on a module were by comparison students. The vivid, Philip Glass-evoking work was “Red Wheelbarrow” by Erik Abrahamson, a master’s claimant who got his bachelor’s grade in combination and afterwards spent 12 years in a Marines drifting helicopters in Iraq, and who conducted his work with cold if somewhat unbending authority. And a dim piano accompaniment upheld “Duae Cantiones Sacrae” by another master’s grade candidate, Eran Lupu.
It was one eventuality in an action-packed weekend. I wrote before about a plea of reckoning out to examination this weekend; now we can write about a plea of wise all into a paper.
My thoughts on a Catholic University opening are cramped to a blog as well, that seemed, after we saw a show, like a improved fit for an dusk that deserves lots of support and not indispensably a oppressive palm of visualisation in print. Robert Battey’s Steven Isserlis review also ran online only, simply since one of a exemplary song reviews had to run online; it was good that we got 3 of them — the Bang on a Can All-Stars; Brooklyn Rider; and Opera Lafayette’s “Lalla Roukh” — into a paper. It’s not usually exemplary song that’s influenced by a Monday crunch; a Sunday editor had a sum of 7 reviews to place, and a examination of a thespian Terri White during a Kennedy Center ran on-line usually as well. (The imitation book enclosed reviews of a jazz pianist/bandleader Eddie Palmieri and a choreographers’ showcase during a Clarice Smith Center.)
Rounding out coverage this weekend was Robert Battey’s examination of Rachel Barton Pine, that ran on Tuesday. Stephen Brookes easily profiled Pine a few days ago in a Washington Post; Battey listened one of her dual concerts of a Paganini Caprices on Sunday afternoon.
So there we have it: one weekend in a life of Washington’s exemplary music. Meanwhile, Ana Vidovic played to a full residence during a Marlow Guitar Series; a InSeries non-stop a “Clemenza di Tito;” a National Philharmonic achieved during Strathmore; a Lark Quartet encored Daron Aric Hagen’s “Genji” with a koto player, and all of that had to go unremarked by a Post — as did Marc-Andre Hamelin’s show during Shriver Hall, and an all-American module by a American Youth Orchestra, and more. It’s both a pleasure and a disappointment that Washington these days is charity so most song that a Post can usually examination a cross-section of what’s on offer. More energy to other outlets that infrequently cover things we can’t, and infrequently afford a opposite perspective on those we can (here’s Ionarts on Bang on a Can). Did anyone see any of a concerts we didn’t examination this weekend?